Cangiagi, Lucas

, or Cambiaso, called Luchet­To, an eminent Genoese painter, was born at Oneglia, near Genoa, in 1527, and became a most expeditious painter, working with both his hands, by which unusual power he executed more designs, and finished more great works with his own pencil in a much shorter time than most other artists could do with several assistants. It is mentioned as a memorable circumstance in his life, that at the age of seventeen he was employed in painting the front of a house in fresco; but whilst he was commencing his work, some Florentine painters who were actually engaged, conceived him to be a mere grinder of colours, and when he took up his pallet and pencils they wished to have prevented his proceeding with it, lest he should spoil the work, but after a few strokes of his pencil they were convinced of their mistake, and respected his singular abilities. Of Cangiagi, it is remarked, that he practised three different modes of painting at three different periods of his life. His first manner was gigantic and unnatural, which | he corrected in consequence of the remonstrances of his* friend Alessi, the celebrated architect, for his best style, in forming which he consulted nature with attention, and digested his thoughts in sketches, before he began to paint. His third manner was distinguished by a more rapid execution, to which he recurred in order to make more ample provision for his wife and family, and had a great deal of the mannerist. His works at Genoa are very numerous, and he was employed by the king of Spain to adorn part of the Escurial.

Of his personal history, we are told that in his youth he was volatile, and that when his wife died he became enamoured of her sister, but could not obtain a dispensation from the pope to marry her, although he endeavoured to cain his favour by painting two fine pictures for his holiness. When employed by Philip II. of Spain, he wished to obtain his leave to marry the lady, but was again unsuccessful, and it is supposed the disappointment contributed to his death, which happened at the Escurial in 1585. In the royal collection at Paris there are a “Sleeping Cupid,” as large as life, and likewise “Judith with her Attendant,” which do honour to this master. In the Pembroke collection at Wilton, there is a picture, representing Christ bearing his cross, which is ascribed to Cangiagi. 1

1

Pilkington.—D’Argenville, vol. II.